byzantine arch

1. ٢
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬
-
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﺒﺩﺍﻴﺔ‬
.
-
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺃﺜﺭﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﻭﺍﻤل‬
.
-
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﺍﻟﻨﻅﺭﻴﺔ‬ ‫ﺠﻭﺍﻨﺏ‬ ‫ﺘﺤﻠﻴل‬
.
-
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻤﻥ‬ ‫ﻨﻤﺎﺫﺝ‬
.

2. ٣
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬
)
٣٣٠
–
١٤٥٣
‫م‬
(
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﻅﻬﻭﺭ‬
،‫ﺍﻟﺴﻼﻡ‬ ‫ﻋﻠﻴﻪ‬ ‫ﺍﻟﻤﺴﻴﺢ‬ ‫ﺍﻟﺴﻴﺩ‬ ‫ﻤﻭﻟﺩ‬ ‫ﻜﺎﻥ‬ ‫ﻟﺤﻡ‬ ‫ﺒﻴﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻨﺎﺼﺭﻴﺔ‬ ‫ﻤﺩﻴﻨﺔ‬ ‫ﻓﻲ‬
‫ﺍﻟﻤﺤﺎﻓﻅﺎﺕ‬ ‫ﺇﺤﺩﻯ‬ ‫ﻜﺎﻨﺕ‬ ‫ﻭﻗﺩ‬
‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﻟﻺﻤﺒﺭﺍﻁﻭﺭﻴﺔ‬ ‫ﺍﻟﺸﺭﻗﻴﺔ‬
.
‫ﻫﻲ‬ ‫ﻓﺘﺭﺍﺕ‬ ‫ﺜﻼﺙ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﻓﺘﺭﺓ‬ ‫ﺘﻘﺴﻴﻡ‬ ‫ﻴﻤﻜﻥ‬ ‫ﻋﺎﻡ‬ ‫ﻭﺒﺸﻜل‬
:
-
‫ﺍﻻﻀﻁﻬﺎﺩ‬ ‫ﻓﺘﺭﺓ‬
:
‫ﺍﻟﺭ‬ ‫ﺠﺎﻨﺏ‬ ‫ﻤﻥ‬ ‫ﺍﻻﻀﻁﻬﺎﺩ‬ ‫ﺇﻟﻰ‬ ‫ﻤﻌﺘﻨﻘﻭﻫﺎ‬ ‫ﺘﻌﺭﺽ‬ ‫ﻭﻗﺩ‬ ،‫ﺴﺭﻴﺔ‬ ‫ﺍﻟﺩﻋﻭﺓ‬ ‫ﻜﺎﻨﺕ‬ ‫ﺤﻴﺙ‬
‫ﻭﻤﺎﻥ‬
.
‫ﻭﻗﺩ‬
‫ﻋﺼﺭ‬ ‫ﻓﻲ‬ ‫ﺫﺭﻭﺘﻪ‬ ‫ﺒﻠﻎ‬
"
‫ﺩﻴﻭﻗﻠﺘﺴﻴﺎﻥ‬
"
‫ﻋﺎﻡ‬ ‫ﺃﺼﺩﺭﻩ‬ ‫ﺍﻟﺫﻱ‬ ‫ﻤﺭﺴﻭﻤﻪ‬ ‫ﺒﻌﺩ‬
٣٠٣
‫ﻜﻨﺎﺌﺱ‬ ‫ﺤﺭﻕ‬ ‫ﻋﻠﻰ‬ ‫ﻨﺹ‬ ‫ﻭﺍﻟﺫﻱ‬ ،‫ﻡ‬
‫ﻭﺍﻟﻌﺴﻜﺭﻴﺔ‬ ‫ﺍﻟﻤﺩﻨﻴﺔ‬ ‫ﺍﻟﻭﻅﺎﺌﻑ‬ ‫ﻤﻥ‬ ‫ﻭﻁﺭﺩﻫﻡ‬ ‫ﻭﻜﺘﺒﻬﻡ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﻴﻥ‬
.
-
‫ﺍﻻﻋﺘﺭﺍﻑ‬ ‫ﻓﺘﺭﺓ‬
:
‫ﺍﻹﻤﺒﺭﺍﻁﻭﺭ‬ ‫ﻅﻬﻭﺭ‬ ‫ﻤﻊ‬ ‫ﻭﺘﺒﺩﺃ‬
"
‫ﻗﺴﻁﻨﻁﻴﻥ‬
"
‫ﻋﺎﻡ‬
٣١٣
‫ﺍﻟﺩﻴﺎﻨﺔ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﺃﺼﺒﺤﺕ‬ ‫ﺤﻴﻨﻤﺎ‬ ،‫ﻡ‬
‫ﺍﻋﺘﻨﻘﻬﺎ‬ ‫ﺃﻥ‬ ‫ﺒﻌﺩ‬ ،‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﻟﻠﺩﻭﻟﺔ‬ ‫ﺍﻟﺭﺴﻤﻴﺔ‬
.
-
‫ﺍﻟﺩﻭﻴﻼﺕ‬ ‫ﻓﺘﺭﺓ‬
:
‫ﻋﺎﻡ‬ ‫ﻓﻔﻲ‬
٣٢٥
،‫ﻭﻏﺭﺒﻲ‬ ‫ﺸﺭﻗﻲ‬ ‫ﻗﺴﻡ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﺍﻹﻤﺒﺭﺍﻁﻭﺭﻴﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻻﻨﻘﺴﺎﻡ‬ ‫ﺤﺩﺙ‬ ‫ﻡ‬
‫ﺒ‬ ‫ﻋﺭﻑ‬ ‫ﻓﻴﻤﺎ‬ ‫ﺍﻟﺸﺭﻗﻲ‬ ‫ﺍﻟﺠﺯﺀ‬ ‫ﻓﺘﻁﻭﺭ‬ ،‫ﻨﻔﺴﻬﺎ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﺍﻨﻘﺴﺎﻡ‬ ‫ﻭﺒﺎﻟﺘﺎﻟﻲ‬
‫ﺘﻁﻭﺭ‬ ‫ﺒﻴﻨﻤﺎ‬ ،‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺎﻟﻌﻤﺎﺭﺓ‬
‫ﺒﺎﻟﻌﻤﺎﺭﺓ‬ ‫ﻋﺭﻑ‬ ‫ﻓﻴﻤﺎ‬ ‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﺠﺯﺀ‬
‫ﺍﻟﺭﻭﻤﺎﻨﻴﺴﻙ‬
.
‫ﺍﻟ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻤﻥ‬ ‫ﻤﺯﻴﺞ‬ ‫ﻫﻲ‬ ‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺒﺄﻥ‬ ‫ﺍﻟﻘﻭل‬ ‫ﻴﻤﻜﻥ‬ ‫ﻋﺎﻡ‬ ‫ﻭﺒﺸﻜل‬
‫ﺍﻟﺸﺭﻕ‬ ‫ﺒﻼﺩ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺭﻭﻤﺎﻨﻴﺔ‬
.

3. ٤
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺃﺜﺭﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﻭﺍﻤل‬
‫ﺍ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻓﻲ‬ ‫ﺒﺎﻹﻨﺴﺎﻥ‬ ‫ﺍﺭﺘﺒﻁﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﻭﺍﻤل‬ ‫ﺃﻫﻡ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﺍﻟﺩﻴﺎﻨﺔ‬ ‫ﺘﻌﺩ‬
‫ﺒﻨﺎﺀ‬ ‫ﺘﻡ‬ ‫ﻓﻘﺩ‬ ‫ﻭﻋﻠﻴﻪ‬ ،‫ﻟﺒﻴﺯﻨﻁﻲ‬
‫ﺍﻻﻫ‬ ‫ﺤﺴﺎﺏ‬ ‫ﻋﻠﻰ‬ ‫ﺫﻟﻙ‬ ‫ﺠﺎﺀ‬ ‫ﻭﻗﺩ‬ ،‫ﺍﻟﺩﻴﺎﻨﺔ‬ ‫ﻫﺫﻩ‬ ‫ﺘﻌﺎﻟﻴﻡ‬ ‫ﺘﻨﺎﺴﺏ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﺒﺎﻨﻲ‬
‫ﺍﻷﺨﺭﻯ‬ ‫ﺍﻟﻤﺩﻨﻴﺔ‬ ‫ﺒﺎﻟﻤﺒﺎﻨﻲ‬ ‫ﺘﻤﺎﻡ‬
.
‫ﺍﻹﻨﺴﺎﻨﻴﺔ‬ ‫ﺍﻟﻌﻭﺍﻤل‬
‫ﺘﻘﻊ‬
"
‫ﺒﻴﺯﻨﻁﺔ‬
"
‫ﺃﻭ‬
"
‫ﺍﻟﻘﺴﻁﻨﻁﻴﻨﻴﺔ‬
"
‫ﺃﻭ‬
"
‫ﺇﺴﻁﺎﻨﺒﻭل‬
"
‫ﻭﺒﺤﺭ‬ ‫ﺍﻟﺒﻭﺴﻔﻭﺭ‬ ‫ﻤﻠﺘﻘﻰ‬ ‫ﻋﻨﺩ‬
‫ﻤﺭﻤﺭﺓ‬
‫ﺍﻟﺸﺭﻴﻁ‬ ‫ﺫﻟﻙ‬ ،
‫ﻤﻬﻤﻴ‬ ‫ﻁﺭﻴﻘﻴﻥ‬ ‫ﻤﻠﺘﻘﻰ‬ ‫ﻋﻨﺩ‬ ‫ﺘﻘﻊ‬ ‫ﻭﻜﺎﻨﺕ‬ ،‫ﻭﺃﻭﺭﺒﺎ‬ ‫ﺁﺴﻴﺎ‬ ‫ﺒﻴﻥ‬ ‫ﻴﻔﺼل‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻀﻴﻕ‬
‫ﻋﻠﻰ‬ ‫ﺴﺎﻋﺩ‬ ‫ﻤﻤﺎ‬ ،‫ﻟﻠﺘﺠﺎﺭﺓ‬ ‫ﻥ‬
‫ﺍﻟﺭﻭﻤﺎ‬ ‫ﺍﻹﻤﺒﺭﺍﻁﻭﺭﻴﺔ‬ ‫ﻤﻨﺎﻁﻕ‬ ‫ﻤﺨﺘﻠﻑ‬ ‫ﺇﻟﻰ‬ ‫ﻭﻤﻨﻬﺎ‬ ‫ﺇﻟﻴﻬﺎ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻨﻭﻥ‬ ‫ﻨﻘل‬
‫ﺍﻟﻭﻗﺕ‬ ‫ﺫﻟﻙ‬ ‫ﻓﻲ‬ ‫ﻨﻴﺔ‬
.
‫ﻤﻥ‬ ،‫ﻷﻭﺭﺒﺎ‬ ‫ﺒﺎﻟﻨﺴﺒﺔ‬ ‫ﺍﻷﻤﻁﺎﺭ‬ ‫ﻗﻠﻴل‬ ‫ﹰ‬
‫ﺎ‬‫ﻨﺴﺒﻴ‬ ‫ﺤﺎﺭ‬ ‫ﺍﻟﻤﻨﻁﻘﺔ‬ ‫ﻫﺫﻩ‬ ‫ﻤﻨﺎﺥ‬ ‫ﻭﻴﻌﺩ‬
‫ﺍﻟﻤﺴﺘﻭﻴﺔ‬ ‫ﺍﻷﺴﻘﻑ‬ ‫ﻅﻬﺭﺕ‬ ‫ﻫﻨﺎ‬
‫ﻭﺍﻟﻌﻘﻭﺩ‬ ،‫ﺍﻷﺭﺽ‬ ‫ﻤﻨﺴﻭﺏ‬ ‫ﻋﻥ‬ ‫ﺍﻟﻤﺭﺘﻔﻌﺔ‬ ‫ﺍﻟﻀﻴﻘﺔ‬ ‫ﺍﻟﻔﺘﺤﺎﺕ‬ ‫ﻤﻊ‬ ،‫ﺍﻟﻘﺒﺎﺏ‬ ‫ﺒﺠﺎﻨﺏ‬
‫ﺍﻟﻤﺤﻴﻁﺔ‬ ‫ﺍﻟﻤﺴﺘﻤﺭﺓ‬
‫ﺍﻟﺩﺍﺨﻠﻴﺔ‬ ‫ﺒﺎﻷﻓﻨﻴﺔ‬
.
‫ﻟ‬ ،‫ﺍﻟﻤﻬﻤﺔ‬ ‫ﺍﻟﻤﺒﺎﻨﻲ‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ‫ﺍﻟﻤﻭﺍﺩ‬ ‫ﻤﻥ‬ ‫ﻭﻫﻭ‬ ‫ﺍﻟﺤﺠﺭ‬ ‫ﻴﺘﻭﻓﺭ‬ ‫ﻭﻟﻡ‬
‫ﻤﻥ‬ ‫ﺍﻟﺭﺨﺎﻡ‬ ‫ﻴﺴﺘﻭﺭﺩ‬ ‫ﻜﺎﻥ‬ ‫ﻓﻘﺩ‬ ‫ﺫﺍ‬
‫ﺍﻟ‬ ‫ﺘﺄﺜﺭﺕ‬ ‫ﻭﻗﺩ‬ ،‫ﺍﻟﻤﺘﻭﺴﻁ‬ ‫ﺍﻷﺒﻴﺽ‬ ‫ﺍﻟﺒﺤﺭ‬ ‫ﺤﻭﺽ‬ ‫ﻤﻨﻁﻘﺔ‬ ‫ﻓﻲ‬ ‫ﺘﻘﻊ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﺤﺎﺠﺭ‬
‫ﹰ‬
‫ﺍ‬‫ﻜﺜﻴﺭ‬ ‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﻌﻤﺎﺭﺓ‬
‫ﻤﺒﺎﻨﻴﻬﺎ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺤﺠﺎﺭ‬ ‫ﺒﻬﺫﻩ‬
.
‫ﺍﻟﺒﻴﺌﻴﺔ‬ ‫ﺍﻟﻌﻭﺍﻤل‬
‫ﺒﻌﺩ‬ ‫ﻓﻴﻤﺎ‬ ‫ﻟﻠﺭﻤﺯﻴﺔ‬ ‫ﺠﻌل‬ ‫ﻤﻤﺎ‬ ،‫ﻋﺎﻤﺔ‬ ‫ﻭﺍﻟﻔﻜﺭ‬ ‫ﺒﺎﻟﺭﻴﺎﻀﻴﺎﺕ‬ ‫ﺍﻟﺒﻴﺯﻨﻁﻴﻭﻥ‬ ‫ﺍﻫﺘﻡ‬
‫ﻋﻤﺎﺭﺘﻬﻡ‬ ‫ﻓﻲ‬ ‫ﹰ‬
‫ﺎ‬‫ﻤﻬﻤ‬ ‫ﹰ‬
‫ﺍ‬‫ﺩﻭﺭ‬
.
‫ﺍﻟﻤﺜﻘﺎﺏ‬ ‫ﺍﺴﺘﻌﻤﻠﻭﺍ‬ ‫ﻜﻤﺎ‬
Drill
‫ﺒﻪ‬ ‫ﻴﺸﻜﻠﻭﺍ‬ ‫ﻟﻜﻲ‬
‫ﺍﻟﺤﻠﻴﺎﺕ‬
‫ﻭﺍﻟﺯﺨﺎﺭﻑ‬
.
‫ﺍﻟﺘﻘﻨﻴﺔ‬ ‫ﺍﻟﻌﻭﺍﻤل‬

4. ٦
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﺍﻟﻨﻅﺭﻴﺔ‬ ‫ﺠﻭﺍﻨﺏ‬ ‫ﺘﺤﻠﻴل‬
‫ﺍﺴﺘﺨﺩﻤﻭﺍ‬ ‫ﻭﻋﻨﺩﻤﺎ‬ ‫ﺍﻟﺭﺍﺒﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬
‫ﺍﻟﺒﺎﺯﻴﻠﻴﻜﺎ‬
‫ﻭﺸﻜل‬ ‫ﻴﺘﻨﺎﺴﺏ‬ ‫ﺒﻤﺎ‬ ‫ﻋﻨﺎﺼﺭﻫﺎ‬ ‫ﻓﻲ‬ ‫ﻭﺒﺩﻟﻭﺍ‬ ‫ﻁﻭﺭﻭﺍ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬
‫ﻴﺤﺘﺎﺠﻭﻨﻬﺎ‬ ‫ﺃﺼﺒﺤﻭﺍ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺠﺩﻴﺩﺓ‬ ‫ﺍﻟﻭﻅﻴﻔﺔ‬
.
‫ﺫﻟﻙ‬ ‫ﺒﻌﺩ‬
‫ﺒﻨﻭﺍ‬
‫ﻭﻅﻴﻔﺘﻬﺎ‬ ‫ﻤﻊ‬ ‫ﺘﺨﻁﻁﻴﻬﺎ‬ ‫ﺘﻨﺎﺴﺏ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻜﻨﺎﺌﺱ‬
‫ﻜﺒﻴﺭ‬ ‫ﺒﺸﻜل‬
.
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻭﻅﻴﻔﺔ‬
‫ﺍﻟﻤﺘﺎﻨﺔ‬ ‫ﺸﺭﻁ‬ ‫ﺘﺤﻘﻕ‬
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺘﺎﻨﺔ‬
‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻘﻭﻴﺔ‬ ‫ﺍﻟﻤﻭﺍﺩ‬ ‫ﻻﺴﺘﺨﺩﺍﻡ‬ ‫ﹰ‬
‫ﺍ‬‫ﻨﻅﺭ‬ ‫ﺤﺎﻟﺘﻬﺎ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻜﻨﺎﺌﺱ‬ ‫ﺒﻌﺽ‬ ‫ﻤﺎﺯﺍﻟﺕ‬
‫ﺨﺎﺹ‬ ‫ﻭﺒﺸﻜل‬ ‫ﺍﻟﺩﻭﺍﻡ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺴﺎﻋﺩ‬
‫ﻭﺍﻟﺭﺨﺎﻡ‬ ‫ﺍﻷﺤﺠﺎﺭ‬
.

5. ٧
‫ﺍﻹﻨﺸﺎﺌﻴﺔ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺘﺎﻨﺔ‬
‫ﻓﻲ‬ ‫ﻋﺭﻓﺕ‬ ‫ﻷﻋﻤﺩﺓ‬ ‫ﺘﻁﻭﻴﺭ‬ ‫ﺇﻻ‬ ‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻷﻋﻤﺩﺓ‬ ‫ﺘﻜﻥ‬ ‫ﻟﻡ‬
‫ﻭﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﻭﺍﻹﻏﺭﻴﻘﻴﺔ‬ ‫ﺍﻟﻤﺼﺭﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬
.
‫ﺍﺴﺘﺨﺩﻤﻭﺍ‬ ‫ﻓﻘﺩ‬
‫ﻤﻥ‬ ‫ﺍﻟﺘﻴﺠﺎﻥ‬ ‫ﻭﻜﺎﻨﺕ‬ ،‫ﺍﻟﺭﺨﺎﻡ‬ ‫ﻤﻥ‬ ‫ﻭﺍﺤﺩﺓ‬ ‫ﻗﻁﻌﺔ‬ ‫ﻤﻥ‬ ‫ﺍﻷﻋﻤﺩﺓ‬
‫ﺍﻷﻴﻭﻨﻲ‬ ‫ﻓﻲ‬ ‫ﻁﺭﺯﻫﺎ‬ ‫ﻭﺍﻨﺤﺼﺭﺕ‬ ،‫ﺍﻷﺒﻴﺽ‬ ‫ﺍﻟﺭﺨﺎﻡ‬
‫ﻭﺍﻟﻜﻭﺭﻨﺜﻲ‬
‫ﺍﻟﺠﺎﻨﺒﻲ‬ ‫ﺍﻟﻤﺴﻘﻁ‬ ‫ﺃﺼﺒﺢ‬ ‫ﺒﺤﻴﺙ‬ ‫ﻋﺩﻟﺕ‬ ‫ﺃﻨﻬﺎ‬ ‫ﻏﻴﺭ‬ ،‫ﻭﺍﻟﻤﺭﻜﺏ‬
‫ﺯﺨﺎﺭﻓﻬﺎ‬ ‫ﻭﻜﺎﻨﺕ‬ ،‫ﻤﻨﺤﻨﻲ‬ ‫ﻟﻠﺘﻴﺠﺎﻥ‬
‫ﻤﺤﺯﺯﺓ‬
‫ﻤﺤﻔﻭﺭﺓ‬ ‫ﻭﻟﻴﺴﺕ‬
‫ﻤﺨﺩﺍﺕ‬ ‫ﺘﻭﺠﺩ‬ ‫ﺍﻟﺘﻴﺠﺎﻥ‬ ‫ﻭﻓﻭﻕ‬ ،‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﺍﻷﻋﻤﺩﺓ‬ ‫ﻜﺘﻴﺠﺎﻥ‬
‫ﻋﻠﻴﻬﺎ‬ ‫ﺍﻟﻌﻘﻭﺩ‬ ‫ﻻﺭﺘﻜﺎﺯ‬
.
‫ﺍﻷﻋﻤﺩﺓ‬
:

6. ٨
‫ﺍﻷﺴﻘﻑ‬
:
‫ﺍﻟﻤﻴﻼﺩﻱ‬ ‫ﺍﻟﺭﺍﺒﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻓﻲ‬
‫ﺍﻟﺨﺸﺒﻲ‬ ‫ﺍﻟﺠﻤﺎﻟﻭﻥ‬ ‫ﻤﺜل‬ ‫ﺍﻟﺨﺸﺒﻴﺔ‬ ‫ﺍﻷﺴﻘﻑ‬ ‫ﻴﺴﺘﺨﺩﻤﻭﻥ‬ ‫ﻜﺎﻨﻭﺍ‬
،‫ﺍﻷﺴﻘﻑ‬ ‫ﺃﻨﻭﺍﻉ‬ ‫ﺃﺒﺴﻁ‬ ‫ﺒﻭﺼﻔﻪ‬ ‫ﺍﻟﻘﺎﺌﻤﻴﻥ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻭﺍﺤﺩ‬ ‫ﺍﻟﻘﺎﺌﻡ‬ ‫ﺫﻭ‬
‫ﻭﺍﻟﻘﺒﺔ‬ ‫ﺍﻟﻘﺒﻭ‬ ‫ﺒﻁﺭﻴﻘﺔ‬ ‫ﻴﺒﻨﻰ‬ ‫ﻓﻜﺎﻥ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﺠﻭﺍﻨﺏ‬ ‫ﺴﻘﻑ‬ ‫ﺃﻤﺎ‬
.
‫ﻓﺭﺍﻏﺎﺕ‬ ‫ﻟﺘﻐﻁﻴﺔ‬ ‫ﻤﻤﻴﺯ‬ ‫ﻜﺄﺴﻠﻭﺏ‬ ‫ﺍﻟﻘﺒﺎﺏ‬ ‫ﺴﺎﺩﺕ‬ ‫ﺫﻟﻙ‬ ‫ﻭﺒﻌﺩ‬
‫ﺍﻟﻜﻨﻴﺴﺔ‬
.
‫ﻟﻠﻌﻤﺎﺭﺓ‬ ‫ﹰ‬
‫ﺍ‬‫ﻜﺒﻴﺭ‬ ‫ﹰ‬
‫ﺎ‬‫ﺩﻓﻌ‬ ‫ﻟﻠﻘﺒﺎﺏ‬ ‫ﺍﻟﺒﻴﺯﻨﻁﻴﻴﻥ‬ ‫ﺘﻁﻭﻴﺭ‬ ‫ﺸﻜل‬ ‫ﻭﻗﺩ‬
‫ﻓﺭﺍﻏﺎﺕ‬ ‫ﺘﻐﻁﻴﺔ‬ ‫ﻤﻥ‬ ‫ﺫﻟﻙ‬ ‫ﻤﻜﻨﻬﻡ‬ ‫ﻭﻗﺩ‬ ،‫ﹰ‬
‫ﺍ‬‫ﻤﻤﻴﺯ‬ ‫ﹰ‬
‫ﺎ‬‫ﻁﺎﺒﻌ‬ ‫ﻭﺇﻋﻁﺎﺌﻬﺎ‬
‫ﺴﺎﻋﺩ‬ ‫ﻜﻤﺎ‬ ،‫ﺍﺭﺘﻜﺎﺯ‬ ‫ﻨﻘﺎﻁ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺤﺎﺠﺔ‬ ‫ﺩﻭﻥ‬ ‫ﻜﺒﻴﺭﺓ‬ ‫ﺒﻤﺴﺎﺤﺎﺕ‬
‫ﺍﻟﺩﺍﺨﻠﻲ‬ ‫ﺍﻟﺸﻜل‬ ‫ﺘﻁﻭﻴﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﺴﻘﻴﻑ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻘﺒﺎﺏ‬ ‫ﺍﺴﺘﻌﻤﺎل‬
‫ﻟﻠﻤﺒﻨﻰ‬
.
‫ﹰ‬
‫ﺎ‬‫ﻭﻏﺎﻟﺒ‬ ،‫ﺍﻟﺨﺭﺴﺎﻨﺔ‬ ‫ﺃﻭ‬ ‫ﺍﻟﺤﺠﺭ‬ ‫ﺃﻭ‬ ‫ﺒﺎﻟﻁﻭﺏ‬ ‫ﺘﺒﻨﻲ‬ ‫ﺍﻟﻘﺒﺎﺏ‬ ‫ﻭﻜﺎﻨﺕ‬
‫ﺘﻐﻁﻴﺔ‬ ‫ﺃﻭ‬ ‫ﻜﺴﻭﺓ‬ ‫ﺒﺩﻭﻥ‬ ‫ﺘﺘﺭﻙ‬ ‫ﻜﺎﻨﺕ‬ ‫ﻤﺎ‬
.
‫ﺍﻟﻘﺒﺎﺏ‬ ‫ﻭﻨﻤﺎﺫﺝ‬
‫ﻨﻤﺎﺫﺝ‬ ‫ﺜﻼﺜﺔ‬ ‫ﻋﻠﻰ‬ ‫ﻜﺎﻨﺕ‬ ‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬
:
١
-
‫ﺍﻟﺒﺴﻴﻁﺔ‬ ‫ﺍﻟﻘﺒﺔ‬
:
‫ﺍﻨﺤﻨﺎﺌﻬﺎ‬ ‫ﻗﻭﺱ‬ ‫ﻓﻴﻪ‬ ‫ﻴﻜﻭﻥ‬ ‫ﺒﺸﻜل‬ ‫ﻭﺘﺒﻨﻰ‬
‫ﺍﻟﺯﻭﺍﻴﺎ‬ ‫ﺍﻨﺤﻨﺎﺀ‬ ‫ﻗﻭﺱ‬ ‫ﺍﺴﺘﻤﺭﺍﺭ‬ ‫ﻋﻠﻰ‬
‫ﺍﻟﻤﺜﻠﺜﻴﺔ‬
‫ﻭﺒﺫﻟﻙ‬ ،‫ﺍﻟﻜﺭﻭﻴﺔ‬
‫ﻭﺍﺤﺩ‬ ‫ﻜﺭﻭﻱ‬ ‫ﺒﺸﻜل‬ ‫ﻭﺍﻟﺯﻭﺍﻴﺎ‬ ‫ﺍﻟﻘﺒﺔ‬ ‫ﺘﻜﻭﻥ‬
.
٢
-
‫ﺍﻟﻤﺭﻜﺒﺔ‬ ‫ﺍﻟﻘﺒﺔ‬
:
‫ﺍﻨﺤﻨﺎﺌﻬﺎ‬ ‫ﻗﻭﺱ‬ ‫ﻴﻜﻭﻥ‬ ‫ﻻ‬ ‫ﺒﺤﻴﺙ‬ ‫ﻭﺘﺒﻨﻰ‬
‫ﺍﻟﺯﻭﺍﻴﺎ‬ ‫ﺍﻨﺤﻨﺎﺀ‬ ‫ﻗﻭﺱ‬ ‫ﺍﺴﺘﻤﺭﺍﺭ‬ ‫ﻋﻠﻰ‬
‫ﺍﻟﻤﺜﻠﺜﻴﺔ‬
‫ﺍﻟﻜﺭﻭﻴﺔ‬
.
٣
-
‫ﻁﺒﻠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺭﺘﻜﺯﺓ‬ ‫ﺍﻟﻘﺒﺔ‬
:
‫ﻁﺒﻠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺒﻨﻰ‬ ‫ﻭﻫﻲ‬
‫ﺍﻟﺯﻭﺍﻴﺎ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺭﺘﻜﺯ‬ ،‫ﺩﺍﺌﺭﻴﺔ‬
‫ﺍﻟﻤﺜﻠﺜﻴﺔ‬
‫ﻭﺘﺴﺎﻋﺩ‬ ،‫ﺍﻟﻜﺭﻭﻴﺔ‬
‫ﺍﻹﻨﺎﺭﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺴﺎﻋﺩ‬ ‫ﺼﻐﻴﺭﺓ‬ ‫ﻨﻭﺍﻓﺫ‬ ‫ﻓﺘﺢ‬ ‫ﺇﻤﻜﺎﻨﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻁﺒﻠﺔ‬
‫ﺍﻟﻘﺒﺔ‬ ‫ﺍﻨﺤﻨﺎﺀ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻭﺃﺴﻔل‬ ‫ﺤﻭل‬
.

7. ٩
‫ﺍﻟﺤﻭﺍﺌﻁ‬
:
‫ﺍﻟﺤﻭﺍﺌﻁ‬ ‫ﻓﻔﻲ‬ ،‫ﺍﻟﺭﻭﻤﺎﻨﻲ‬ ‫ﺍﻟﺒﻨﺎﺀ‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﻨﻔﺱ‬ ‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﺘﺒﻊ‬
‫ﻤﻊ‬ ‫ﺤﺠﺭﻴﺔ‬ ‫ﺼﻔﻭﻑ‬ ‫ﺍﺴﺘﻌﻤﻠﺕ‬
‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﻭﻋﻨﻑ‬ ‫ﺍﻟﻤﻠل‬ ‫ﻤﻥ‬ ‫ﺒﺫﻟﻙ‬ ‫ﻓﻘﻠل‬ ‫ﻤﻨﺘﻅﻡ‬ ‫ﺒﺈﻴﻘﺎﻉ‬ ‫ﺍﻷﺤﻤﺭ‬ ‫ﺍﻟﻁﻭﺏ‬ ‫ﻤﻥ‬ ‫ﺼﻔﻭﻑ‬
.
‫ﺍﻹﻨﺸﺎﺀ‬ ‫ﻨﻅﺭﻴﺎﺕ‬
:
‫ﺍﻟﻀﻐﻁ‬ ‫ﻟﺘﺨﻔﻴﻑ‬ ‫ﻭﺫﻟﻙ‬ ،‫ﺍﻟﻘﺒﺎﺏ‬ ‫ﺒﻌﺽ‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺨﺎﺭﻴﺔ‬ ‫ﺍﻷﻭﺍﻨﻲ‬ ‫ﺍﺴﺘﺨﺩﻤﻭﺍ‬
،‫ﺍﻟﺠﺩﺭﺍﻥ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﺒﺔ‬ ‫ﻋﻥ‬ ‫ﺍﻟﻨﺎﺘﺞ‬
‫ﻜﻨﻴﺴﺔ‬ ‫ﻤﺜﺎل‬
"
‫ﺴﺎﻥ‬
‫ﻓﻴﺘﺎل‬
"
‫ﻓﻲ‬
"
‫ﺭﺍﻓﻴﻨﺎ‬
"
‫ﺍﻟﺤﺭﺍﺭﻱ‬ ‫ﺍﻟﻌﺯل‬ ‫ﻓﻜﺭﺓ‬ ‫ﻴﺤﻘﻕ‬ ‫ﺃﻨﻪ‬ ‫ﺒﺠﺎﻨﺏ‬ ،
.
‫ﺍﻟﻔﺘﺤﺎﺕ‬
:
‫ﻭﺍﻷﺒﻭﺍ‬ ‫ﺍﻟﻔﺘﺤﺎﺕ‬ ‫ﺘﻐﻁﻴﺔ‬ ‫ﻓﻲ‬ ‫ﻴﺴﺘﺨﺩﻤﻭﻥ‬ ‫ﻜﺎﻨﻭﺍ‬ ‫ﺍﻟﻤﻴﻼﺩﻱ‬ ‫ﺍﻟﺭﺍﺒﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬
‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﺩﺍﺌﺭﻱ‬ ‫ﻨﺼﻑ‬ ‫ﺍﻟﻌﻘﺩ‬ ‫ﺏ‬
‫ﺍﻷﻋﻤﺩﺓ‬ ‫ﺘﻴﺠﺎﻥ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺒﺎﺸﺭﺓ‬ ‫ﻴﺭﺘﻜﺯ‬
.
‫ﺍﻟﻔﺭﺱ‬ ‫ﺤﺩﻭﺓ‬ ‫ﺸﻜل‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻤﺴﺘﻘﻴﻤﺔ‬ ‫ﺍﻟﻌﻘﻭﺩ‬ ‫ﺫﻟﻙ‬ ‫ﺒﻌﺩ‬ ‫ﺍﺴﺘﺨﺩﻤﻭﺍ‬ ‫ﻜﻤﺎ‬
.
‫ﺼﻐﻴﺭﺓ‬ ‫ﺍﻟﻨﻭﺍﻓﺫ‬ ‫ﻭﻜﺎﻨﺕ‬
،‫ﻭﺍﺤﺩ‬ ‫ﺼﻑ‬ ‫ﻤﻥ‬ ‫ﺃﻜﺜﺭ‬ ‫ﻤﻥ‬ ‫ﻤﻜﻭﻨﺔ‬ ‫ﺍﻟﻐﺎﻟﺏ‬ ‫ﻓﻲ‬ ‫ﻭﻜﺎﻨﺕ‬ ،‫ﺍﻟﺤﺎﺭ‬ ‫ﺍﻟﺠﻭ‬ ‫ﻤﻊ‬ ‫ﻟﺘﺘﻨﺎﺴﺏ‬
‫ﺍﻷﻗﺒﻴﺔ‬ ‫ﺘﺤﺕ‬ ‫ﻭﻭﺍﻗﻌﺔ‬
‫ﺍﻟﻤﺴﺘﻤﺭﺓ‬
.

8. ١٠
‫ﺍﻟﺩﺍﺨﻠﻲ‬ ‫ﺍﻟﻔﺭﺍﻍ‬
:
‫ﺒﺠﺎﻨﺏ‬ ،‫ﻭﺍﺤﺩﺓ‬ ‫ﻭﺤﺩﺓ‬ ‫ﺫﺍﺕ‬ ‫ﻜﺒﻴﺭﺓ‬ ‫ﻓﺭﺍﻏﺎﺕ‬ ‫ﺘﺤﻘﻴﻕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻹﻨﺸﺎﺀ‬ ‫ﻁﺭﻕ‬ ‫ﺴﺎﻋﺩﺕ‬
‫ﺃﻥ‬
‫ﺍﻟ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻭﺃﺴﻔل‬ ‫ﺤﻭل‬ ‫ﻓﺘﺤﺎﺕ‬ ‫ﺒﻌﻤل‬ ‫ﺴﻤﺤﺕ‬ ‫ﻗﺩ‬ ‫ﻁﺒﻠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﺒﺔ‬ ‫ﺇﻨﺸﺎﺀ‬ ‫ﻁﺭﻴﻘﺔ‬
‫ﻋﻠﻰ‬ ‫ﻴﻀﻔﻲ‬ ‫ﻜﺎﻥ‬ ‫ﻤﻤﺎ‬ ،‫ﻘﺒﺔ‬
‫ﹰ‬
‫ﻻ‬‫ﻭﺠﻤﺎ‬ ‫ﺭﻭﻋﺔ‬ ‫ﻟﻠﻘﺒﺔ‬ ‫ﺍﻟﺩﺍﺨﻠﻲ‬ ‫ﺍﻟﻔﺭﺍﻍ‬
.
‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻤﺎل‬
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﺍﻟﺘﺸﻜﻴل‬ ‫ﻭﺴﺎﺌل‬
:
‫ﺍﻟﻨﺤﺕ‬ ‫ﻤﺜل‬ ‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﺍﻟﺯﺨﺎﺭﻑ‬ ‫ﺍﺨﺘﻔﺕ‬ ‫ﺍﻟﻤﻴﻼﺩﻱ‬ ‫ﺍﻟﺨﺎﻤﺱ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﺒﻌﺩ‬
‫ﺍﻟﺸﺭﻗﻴ‬ ‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﻤﻥ‬ ‫ﺒﺘﺄﺜﺭ‬ ،‫ﺍﻟﻤﺠﺭﺩﺓ‬ ‫ﺍﻟﻤﺴﻁﺤﺔ‬ ‫ﺍﻟﺯﺨﺎﺭﻑ‬ ‫ﻤﺤﻠﻪ‬ ‫ﻭﺤﻠﺕ‬ ‫ﺍﻟﺒﺎﺭﺯ‬
‫ﺔ‬
.
‫ﺍﻟﻔﺘﺤﺎﺕ‬ ‫ﺼﻐﺭ‬ ‫ﺴﺎﻋﺩ‬ ‫ﻭﻗﺩ‬
‫ﺍﻟﺼﻭﺭ‬ ‫ﻟﺭﺴﻡ‬ ‫ﺍﻟﺩﺍﺨﻠﻴﺔ‬ ‫ﺍﻟﺤﻭﺍﺌﻁ‬ ‫ﻤﻥ‬ ‫ﻜﺒﻴﺭﺓ‬ ‫ﻤﺴﻁﺤﺎﺕ‬ ‫ﻭﺠﻭﺩ‬ ‫ﻋﻠﻰ‬
‫ﺒﺎﻟﻤﻭﺯﺍﻴﻴﻙ‬
‫ﺍﻟﻤﻠﻭﻥ‬
.
‫ﺍﻟﺯﺨﺎﺭﻑ‬ ‫ﻭﻜﺎﻨﺕ‬
‫ﺍﻟﻜﻨﺎﺌﺱ‬ ‫ﺯﺨﺎﺭﻑ‬ ‫ﺘﻤﺎﺜل‬
‫ﺍﻟﺒﺎﺯﻴﻠﻜﻴﺔ‬
‫ﺒﻔﺴﻴﻔﺴﺎﺀ‬ ‫ﻤﻐﻁﺎﺓ‬ ‫ﺠﻤﻌﻴﻬﺎ‬ ‫ﺍﻟﺤﻭﺍﺌﻁ‬ ‫ﻜﺎﻨﺕ‬ ‫ﺇﺫ‬ ،
‫ﺍﻟﻤﻭﺍﺯﻴﻴﻙ‬
‫ﺍﻟﺭﺨﺎﻡ‬ ‫ﻗﻁﻊ‬ ‫ﻤﻥ‬
‫ﻤﻐﻁﺎﺓ‬ ‫ﻭﺍﻟﻘﺒﺎﺏ‬ ‫ﻭﺍﻷﻗﺒﻴﺔ‬ ‫ﺍﻟﻌﻘﻭﺩ‬ ‫ﻜﺎﻨﺕ‬ ‫ﻜﻤﺎ‬ ،‫ﺍﻟﻤﻠﻭﻥ‬
‫ﺒﺎﻟﻤﻭﺯﺍﻴﻴﻙ‬
‫ﺫﻫﺒﻴﺔ‬ ‫ﻭﺃﺭﻀﻴﺔ‬ ‫ﺍﻟﻼﻤﻊ‬ ‫ﺍﻟﻤﺯﺠﺞ‬
.
1
2

9. ١٢
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻜﻨﺎﺌﺱ‬ ‫ﺃﻨﻭﺍﻉ‬
‫ﹰ‬
‫ﻼ‬‫ﺸﻜ‬ ‫ﺃﻭ‬ ‫ﹰ‬
‫ﺎ‬‫ﺨﺎﺼ‬ ‫ﹰ‬
‫ﺎ‬‫ﻁﺎﺒﻌ‬ ‫ﺍﻟﻜﻨﺎﺌﺱ‬ ‫ﺘﺄﺨﺫ‬ ‫ﻟﻡ‬
‫ﺒﻌﺩ‬ ‫ﺇﻻ‬ ‫ﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﺨﺼﺎﺌﺹ‬ ‫ﺫﻭ‬ ‫ﹰ‬
‫ﺍ‬‫ﻤﺤﺩﺩ‬
‫ﻓﻘﺩ‬ ،‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﺍﻨﺘﺸﺎﺭ‬ ‫ﻤﻥ‬ ‫ﻁﻭﻴﻠﺔ‬ ‫ﻤﺩﺓ‬
‫ﻜﺄﻤﺎﻜﻥ‬ ‫ﺍﻟﻤﺴﺎﻜﻥ‬ ‫ﺍﻟﺒﺩﺍﻴﺔ‬ ‫ﻓﻲ‬ ‫ﺍﺴﺘﺨﺩﻤﺕ‬
‫ﺍﻋﺘﻨﻕ‬ ‫ﻤﺎ‬ ‫ﺒﻌﺩ‬ ‫ﻭﻟﻜﻥ‬ ،‫ﻟﻠﻌﺒﺎﺩﺓ‬
"
‫ﻗﺴﻁﻨﻁﻴﻥ‬
"
‫ﻅﻬﺭﺕ‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﺍﻟﺩﻴﺎﻨﺔ‬
‫ﻋﻥ‬ ‫ﻟﻠﺘﻌﺒﻴﺭ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﺒﻨﺎﺀ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺤﺎﺠﺔ‬
‫ﺍﻟﺒﺩﺍﻴﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺍﺘﺨﺫﺕ‬ ،‫ﺍﻟﺠﺩﻴﺩ‬ ‫ﺍﻟﺩﻭﻟﺔ‬ ‫ﺩﻴﻥ‬
‫ﻁﺎﺒﻊ‬
‫ﺍﻟﺒﺎﺯﻴﻠﻴﻜﺎ‬
‫ﺘﺴﺘﺨﺩﻡ‬ ‫ﻜﺎﻨﺕ‬ ‫ﺍﻟﺘﻲ‬
‫ﺍﻟﺘﻐﻴﻴﺭﺍﺕ‬ ‫ﺒﻬﺎ‬ ‫ﻭﻋﻤﻠﺕ‬ ،‫ﻜﺄﺴﻭﺍﻕ‬
‫ﺍﻟﺠﺩﻴﺩ‬ ‫ﺍﻟﻌﺒﺎﺩﺓ‬ ‫ﻟﺘﻨﺎﺴﺏ‬ ‫ﺍﻟﻼﺯﻤﺔ‬
.
‫ﺃﺴﻠﻭﺒﺎﻥ‬ ‫ﻫﻨﺎﻙ‬ ‫ﻜﺎﻥ‬ ‫ﺍﻟﺨﺎﻤﺱ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬
‫ﻫﻭ‬ ‫ﺍﻷﻭل‬ ‫ﺍﻟﻜﻨﺎﺌﺱ؛‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬ ‫ﻤﺘﻤﻴﺯﻴﻥ‬
‫ﺍﻟﺒﺎﺯﻴﻠﻴﻜﺎ‬
‫ﻤﻥ‬ ‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﺠﺯﺀ‬ ‫ﻓﻲ‬
‫ﻫﻭ‬ ‫ﻭﺍﻵﺨﺭ‬ ،‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﺍﻹﻤﺒﺭﺍﻁﻭﺭﻴﺔ‬
‫ﺍﻷﻀﻼﻉ‬ ‫ﺍﻟﻤﺜﻤﻨﺔ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻤﺴﺘﺩﻴﺭﺓ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬
Rotondo
‫ﻋﺭﻴﻀﺔ‬ ‫ﻗﺒﺔ‬ ‫ﺘﻌﻠﻭﻫﺎ‬
‫ﺩﺍﺨل‬ ‫ﺼﻠﻴﺏ‬ ‫ﺸﻜل‬ ‫ﻋﻠﻰ‬ ‫ﹰ‬
‫ﺎ‬‫ﺃﺤﻴﺎﻨ‬ ‫ﻭﺘﻜﻭﻥ‬
‫ﻋﻥ‬ ‫ﻤﺄﺨﻭﺫﺓ‬ ‫ﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﻓﻜﺭﺓ‬ ‫ﻭﻫﻲ‬ ‫ﻤﺭﺒﻊ‬
‫ﺍﻟﺸﺭﻗﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬
.
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻜﻨﺎﺌﺱ‬ ‫ﻨﻤﺎﺫﺝ‬ ‫ﺘﻌﺩﺩﺕ‬ ‫ﻭﻗﺩ‬
‫ﺍﻟﻤﺭﻓﻕ‬ ‫ﺒﺎﻟﺸﻜل‬ ‫ﺍﻟﻤﺒﻴﻥ‬ ‫ﺍﻟﻨﺤﻭ‬ ‫ﻋﻠﻰ‬
.
‫ﺍﻷﻭل‬ ‫ﺍﻟﻨﻭﻉ‬
:
‫ﻤﻥ‬ ‫ﺼﻠﻴﺏ‬
‫ﻭﺍﻟﺨﺎﺭﺝ‬ ‫ﺍﻟﺩﺍﺨل‬
–
‫ﻜﻨﻴﺴﺔ‬
‫ﺒﺎﻟﺒﻨﺩﻗﻴﺔ‬ ‫ﻤﺎﺭﻙ‬ ‫ﺴﺎﻥ‬
‫ﺍﻟﺜﺎﻨﻲ‬ ‫ﺍﻟﻨﻭﻉ‬
:
‫ﻤﻥ‬ ‫ﺼﻠﻴﺏ‬
‫ﻤﺭﺒﻊ‬ ‫ﺍﻟﺨﺎﺭﺝ‬ ‫ﻭﻤﻥ‬ ‫ﺍﻟﺩﺍﺨل‬
–
‫ﺼﻭﻓﻴﺎ‬ ‫ﺃﻴﺎ‬ ‫ﻜﻨﻴﺴﺔ‬
‫ﺍﻟﺜﺎﻟﺙ‬ ‫ﺍﻟﻨﻭﻉ‬
:
‫ﺍﻟﺩﺍﺨل‬ ‫ﻤﻥ‬ ‫ﻤﺜﻤﻥ‬
‫ﻤﺭﺒﻊ‬ ‫ﺍﻟﺨﺎﺭﺝ‬ ‫ﻭﻤﻥ‬
–
‫ﻜﻨﻴﺴﺔ‬
‫ﺴﺎﻥ‬
‫ﺴﺭﺠﻴﻭﺱ‬
‫ﺒﺎﻟﻘﺴﻁﻨﻁﻴﻨﻴﺔ‬
‫ﺍﻟﺭﺍﺒﻊ‬ ‫ﺍﻟﻨﻭﻉ‬
:
‫ﺍﻟﺩﺍﺨل‬ ‫ﻤﻥ‬ ‫ﻤﺜﻤﻥ‬
‫ﺍﻟﺨﺎﺭﺝ‬ ‫ﻭﻤﻥ‬
–
‫ﺴﺎﻥ‬ ‫ﻜﻨﻴﺴﺔ‬
‫ﻓﻴﺘﺎل‬
‫ﺇﻴﻁﺎﻟﻴﺎ‬ ‫ﻓﻲ‬
‫ﺍﻟﺴﺎﺩﺱ‬ ‫ﺍﻟﻨﻭﻉ‬
:
‫ﺸﻜل‬ ‫ﻋﻠﻰ‬
‫ﺍﻟﺒﺎﺯﻟﻴﻜﺎ‬
‫ﺒﺎﻟﻘﺒﺎﺏ‬ ‫ﺍﻟﻤﻐﻁﺎﺓ‬
–
‫ﻜﻨﻴﺴﺔ‬
‫ﺒﺎﻟﻘﺴﻁﻨﻁﻴﻨﻴﺔ‬ ‫ﺘﻴﻭﺩﻭﺭ‬ ‫ﺴﺎﻥ‬
‫ﺍﻟﺨﺎﻤﺱ‬ ‫ﺍﻟﻨﻭﻉ‬
:
‫ﻤﻥ‬ ‫ﻤﺴﺘﺩﻴﺭ‬
‫ﺍﻟﺨﺎﺭﺝ‬ ‫ﻭﻤﻥ‬ ‫ﺍﻟﺩﺍﺨل‬
–
‫ﻜﻨﻴﺴﺔ‬
‫ﺍﻟﻴﻭﻨﺎﻥ‬ ‫ﻓﻲ‬ ‫ﺠﻭﺭﺝ‬ ‫ﺴﺎﻥ‬

10. ١٣
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻤﻥ‬ ‫ﻨﻤﺎﺫﺝ‬
‫ﺼﻭﻓﻴﺎ‬ ‫ﺃﻴﺎ‬ ‫ﻜﻨﻴﺴﺔ‬
"
‫ﺼﻭﻓﻴﺎ‬ ‫ﺁﻴﺎ‬
"
S. Sophia
‫ﻤﻌﻨﺎﻫﺎ‬ ،
"
‫ﺍﻟﻤﻘﺩﺴﺔ‬ ‫ﺍﻟﺤﻜﻤﺔ‬ ‫ﺒﻴﺕ‬
"
‫ﻜﻤﺎ‬ ،
‫ﺍﻟﻜﺒﺭﻯ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﻟﻘﺏ‬ ‫ﻋﻠﻴﻬﺎ‬ ‫ﺃﻁﻠﻕ‬
.
‫ﻋﺎﻡ‬ ‫ﻤﻨﻬﺎ‬ ‫ﺍﻟﻌﻤل‬ ‫ﺍﻨﺘﻬﻰ‬
٥٣٧
‫ﻡ‬
‫ﺒﻠﻐﺕ‬ ‫ﻭﻋﻤﺎﻟﺔ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻤﻥ‬ ‫ﺴﻨﻭﺍﺕ‬ ‫ﺨﻤﺱ‬ ‫ﺒﻌﺩ‬
١٠٠٠٠
،‫ﻋﺎﻤل‬
‫ﺍﻵﺴﻴﻭﻴﺎﻥ‬ ‫ﺍﻟﻤﻬﻨﺩﺴﺎﻥ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻭﺘﻭﻟﻰ‬
"
‫ﺃﻨﺘﻴﻤﻭﺱ‬
"
Anthemius
‫ﻭ‬
"
‫ﺇﺯﻴﺩﺭﻭﺱ‬
"
Isodorus
.
‫ﹰ‬
‫ﺎ‬‫ﺘﻘﺭﻴﺒ‬ ‫ﺍﻟﺸﻜل‬ ‫ﻤﺴﺘﻁﻴل‬ ‫ﻟﻠﻜﻨﻴﺴﺔ‬ ‫ﺍﻷﻓﻘﻲ‬ ‫ﺍﻟﻤﺴﻘﻁ‬
)
‫ﺤﻭﺍﻟﻲ‬
٨٠
‫ﹰ‬
‫ﺍ‬‫ﻤﺘﺭ‬
‫ﻭ‬ ،‫ﻁﻭل‬
٧٠
‫ﻋﺭﺽ‬ ‫ﹰ‬
‫ﺍ‬‫ﻤﺘﺭ‬
(
‫ﻀﻠﻌﻪ‬ ‫ﻁﻭل‬ ‫ﻤﺭﺒﻊ‬ ‫ﺸﻜل‬ ‫ﻋﻠﻰ‬ ‫ﻭﻤﺭﻜﺯﻩ‬ ،
‫ﺤﻭﺍﻟﻲ‬
٣٣
‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻀﺨﻤﺔ‬ ‫ﺍﻟﻘﺒﺔ‬ ‫ﺘﻐﻁﻴﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻘﺴﻡ‬ ‫ﻭﻫﻭ‬ ‫ﹰ‬
‫ﺍ‬‫ﻤﺘﺭ‬
‫ﺤﻭﺍﻟﻲ‬ ‫ﺍﺭﺘﻔﺎﻋﻬﺎ‬ ‫ﻴﺒﻠﻎ‬
٥٤
‫ﻭﻟﻬﺎ‬ ،‫ﹰ‬
‫ﺍ‬‫ﻤﺘﺭ‬
٤٠
‫ﺒﻘﺎﻋﺩﺘﻬﺎ‬ ‫ﺘﺤﻴﻁ‬ ‫ﻨﺎﻓﺫﺓ‬
.
‫ﻜل‬ ‫ﺘﺴﺘﻨﺩ‬ ‫ﺃﺼﻐﺭ‬ ‫ﻗﺒﺘﻴﻥ‬ ‫ﻨﺼﻔﻲ‬ ‫ﺍﻟﺭﺌﻴﺴﻴﺔ‬ ‫ﺍﻟﻘﺒﺔ‬ ‫ﺠﺎﻨﺒﻲ‬ ‫ﻋﻠﻰ‬ ‫ﻭﻴﻭﺠﺩ‬
‫ﻋﻠﻰ‬ ‫ﻤﻨﻬﻤﺎ‬
‫ﺤﻨﻴﺘﻴﻥ‬
‫ﺍﻵﺨﺭﻴﻥ‬ ‫ﺍﻟﺠﺎﻨﺒﻴﻥ‬ ‫ﻤﻥ‬ ‫ﺃﻤﺎ‬ ،‫ﻜﺒﻴﺭﺘﻴﻥ‬ ‫ﺠﺎﻨﺒﻴﺘﻴﻥ‬
‫ﺍﻟﺭﺌﻴﺴﻴﺔ‬ ‫ﺍﻟﻘﺒﺔ‬ ‫ﻋﻠﻰ‬ ‫ﻭﻤﺘﻌﺎﻤﺩﻴﻥ‬ ‫ﻤﺴﺘﻤﺭﻴﻥ‬ ‫ﻗﺒﻭﻴﻥ‬ ‫ﻓﻴﻭﺠﺩ‬
.
‫ﻭﺒﺫﻟﻙ‬
‫ﺍﻟﻀﺨﻤﺔ‬ ‫ﺍﻟﻘﺒﺔ‬ ‫ﻀﻐﻁ‬ ‫ﻋﻥ‬ ‫ﺍﻟﻨﺎﺘﺠﺔ‬ ‫ﺍﻷﺤﻤﺎل‬ ‫ﺘﺨﻔﻴﻑ‬ ‫ﺃﻤﻜﻥ‬ ‫ﻓﻘﺩ‬
.
‫ﺍﻟﻤﺘﻌﺩﺩ‬ ‫ﺍﻟﺭﺨﺎﻡ‬ ‫ﺃﻨﻭﺍﻉ‬ ‫ﺒﺠﻤﻴﻊ‬ ‫ﻤﻜﺴﻭﺓ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﻭﺤﻭﺍﺌﻁ‬
‫ﻜﺴﻭﺓ‬ ‫ﻭﺘﻡ‬ ،‫ﺍﻟﻘﺒﺔ‬ ‫ﺤﻭﺍﺌﻁ‬ ‫ﻭﻜﺫﻟﻙ‬ ‫ﻤﺘﻌﺩﺩﺓ‬ ‫ﺃﻗﻁﺎﺭ‬ ‫ﻤﻥ‬ ‫ﺍﻷﻟﻭﺍﻥ‬
‫ﺍﻷﺭﻀﻴﺎﺕ‬
‫ﺒﺎﻟﻤﻭﺍﺯﻴﻴﻙ‬
‫ﺭﺍﺌﻌﺔ‬ ‫ﻫﻨﺩﺴﻴﺔ‬ ‫ﻭﺒﺄﺸﻜﺎل‬ ‫ﺍﻟﻤﻠﻭﻥ‬
.
‫ﻭﺒﻌﺩ‬
‫ﻋﺎﻡ‬ ‫ﺍﻟﻌﺜﻤﺎﻨﻴﻴﻥ‬ ‫ﺍﻷﺘﺭﺍﻙ‬ ‫ﻋﻬﺩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﻼﺩ‬ ‫ﻟﻬﺫﻩ‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻔﺘﺢ‬
١٤٥٣
‫ﺇﻟﻰ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﺘﺤﻭﻟﺕ‬ ،‫ﺍﻟﻔﺎﺘﺢ‬ ‫ﻤﺤﻤﺩ‬ ‫ﺍﻟﺴﻠﻁﺎﻥ‬ ‫ﻴﺩ‬ ‫ﻋﻠﻰ‬ ‫ﻡ‬
‫ﺍﻟﻘﺭﺁﻥ‬ ‫ﻤﻥ‬ ‫ﺁﻴﺎﺕ‬ ‫ﻤﺤﻠﻬﺎ‬ ‫ﻭﺤل‬ ‫ﺍﻟﻤﺴﻴﺤﻴﺔ‬ ‫ﺍﻟﺯﺨﺎﺭﻑ‬ ‫ﻭﻏﻁﻴﺕ‬ ‫ﻤﺴﺠﺩ‬
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺘﻜﻥ‬ ‫ﻟﻡ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻟﻤﺂﺫﻥ‬ ‫ﺃﻀﻴﻔﺕ‬ ‫ﻜﻤﺎ‬ ،‫ﺍﻟﻜﺭﻴﻡ‬
‫ﻟﻠﻜﻨﺎﺌﺱ‬ ‫ﺍﻟﻨﻭﺍﻗﻴﺱ‬ ‫ﺃﺒﺭﺍﺝ‬ ‫ﺘﻀﻴﻑ‬
.

11. ١٤
‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﺍﻷﻓﻜﺎﺭ‬ ‫ﺃﻫﻡ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﺍﻟﺘﻜﺎﻤل‬
‫ﺤﻴ‬ ‫ﻤﻥ‬ ،‫ﺍﻟﺒﻴﺯﻨﻁﻲ‬ ‫ﻭﺍﻟﻔﻥ‬ ‫ﻟﻠﻌﻤﺎﺭﺓ‬ ‫ﻤﺘﻜﺎﻤل‬ ‫ﻭﻨﻤﻭﺫﺝ‬ ‫ﻤﺜﺎل‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﺘﻌﺩ‬
‫ﻭﺘﻭﺍﻓﻕ‬ ،‫ﻭﺍﻟﺯﺨﺎﺭﻑ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﺩﻗﺔ‬ ‫ﺙ‬
‫ﺍ‬ ‫ﻫﺫﻩ‬ ‫ﺘﻌﺩ‬ ‫ﺤﻴﺙ‬ ،‫ﺍﻹﺠﻤﺎل‬ ‫ﻓﻲ‬ ‫ﻟﻠﻘﺒﺔ‬ ‫ﺍﻟﻤﻜﻭﻨﺔ‬ ‫ﻟﻠﻌﻨﺎﺼﺭ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﺍﻟﺘﻜﻭﻴﻥ‬
‫ﺫﺭﻭﺓ‬ ‫ﻋﻥ‬ ‫ﻴﻌﺒﺭ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻭﺍﻀﺢ‬ ‫ﺍﻟﻤﺜﺎل‬ ‫ﻟﻜﻨﻴﺴﺔ‬
‫ﺍﻟﺒﻴﺯﻨﻁﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬
.
‫ﻓ‬ ‫ﺍﻟﻤﺒﻨﻰ‬ ‫ﺒﻬﺫﺍ‬ ‫ﺘﺄﺜﺭﺕ‬ ‫ﻗﺩ‬ ‫ﺍﻟﻌﺜﻤﺎﻨﻴﺔ‬ ‫ﺍﻟﺘﺭﻜﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺒﺄﻥ‬ ‫ﺍﻟﻘﻭل‬ ‫ﻭﻴﻤﻜﻥ‬
‫ﺍﻟﺘﻌﺩﻴﻼﺕ‬ ‫ﺒﻌﺩ‬ ‫ﺇﻀﺎﻓﺔ‬ ‫ﻤﻊ‬ ‫ﺍﻟﻤﺴﺎﺠﺩ‬ ‫ﺘﺼﻤﻴﻡ‬ ‫ﻲ‬
.

12. ١٥
‫ﻤﻌﻠﻘﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﻨﺸﺄﺓ‬ ‫ﺍﻟﻘﺒﺔ‬
‫ﺍﺴﺘ‬ ‫ﺘﻡ‬ ‫ﻓﻘﺩ‬ ،‫ﻟﻠﻘﺒﺔ‬ ‫ﺍﻟﺩﺍﺌﺭﻴﺔ‬ ‫ﺍﻟﺤﻠﻘﺔ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻤﺭﺒﻊ‬ ‫ﻤﻥ‬ ‫ﺍﻻﻨﺘﻘﺎل‬ ‫ﻴﺘﻡ‬ ‫ﻟﻜﻲ‬
‫ﺒﺎﻟﻤﻌﻠﻘﺎﺕ‬ ‫ﺘﺴﻤﻰ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻜﺭﻭﻴﺔ‬ ‫ﺍﻟﻤﺜﻠﺜﺎﺕ‬ ‫ﺨﺩﺍﻡ‬
Pendentives
‫ﻓ‬ ‫ﻭﺍﻻﻗﺘﺼﺎﺩ‬ ‫ﻭﺍﻟﺨﻔﺔ‬ ‫ﺒﺎﻟﻘﺒﺔ‬ ‫ﺒﺎﻻﺭﺘﻔﺎﻉ‬ ‫ﺍﻹﻨﺸﺎﺌﻲ‬ ‫ﺍﻟﺘﻜﻭﻴﻥ‬ ‫ﻫﺫﺍ‬ ‫ﻭﻴﺴﻤﺢ‬ ،
‫ﻤﻥ‬ ‫ﹰ‬
‫ﻻ‬‫ﺒﺩ‬ ،‫ﺍﻟﺘﻜﺎﻟﻴﻑ‬ ‫ﻲ‬
‫ﻓﻲ‬ ‫ﺍﺴﺘﺨﺩﻤﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻘﺩﻴﻤﺔ‬ ‫ﺍﻟﻁﺭﻕ‬
‫ﺍﻟﺒﺎﻨﺜﻴﻭﻥ‬
‫ﻜﻨﻴﺴﺔ‬ ‫ﻗﺒﺔ‬ ‫ﻭﺘﻌﺩ‬ ،
"
‫ﺼﻭﻓﻴﺎ‬ ‫ﺁﻴﺎ‬
"
‫ﺫﻟﻙ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺜﺎل‬ ‫ﺃﻭل‬ ‫ﻫﻲ‬
.
‫ﻫﺫﻩ‬ ‫ﺃﻥ‬ ‫ﺭﻏﻡ‬
‫ﺍﻟﺜﺎﻨﻲ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺒﺎﻷﺭﺩﻥ‬ ‫ﺠﺭﺵ‬ ‫ﻤﺩﻴﻨﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺠﺩﺕ‬ ‫ﻗﺩ‬ ‫ﺍﻟﻁﺭﻴﻘﺔ‬
‫ﺍﻟﺭﻭﻤﺎﻨﻴﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻴﻼﺩﻱ‬
.

13. ١٦
‫ﻜﻨﻴﺴﺔ‬ ‫ﺒﻨﻴﺕ‬
"
‫ﻤﺎﺭﻙ‬ ‫ﺴﺎﻥ‬
"
S.Mark
‫ﻤﺩﻴﻨﺔ‬ ‫ﻓﻲ‬
‫ﺍﻟﻤﻴﻼﺩﻱ‬ ‫ﺍﻟﺘﺎﺴﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﺇﻴﻁﺎﻟﻴﺎ‬ ‫ﻓﻲ‬ ‫ﻓﻴﻨﺴﻴﺎ‬
‫ﺍﻟﻨﻤﻁ‬ ‫ﻋﻠﻰ‬
‫ﺍﻟﺒﺎﺯﻴﻠﻴﻜﻲ‬
‫ﺍﻟﻘﺭﻥ‬ ‫ﻤﻨﺘﺼﻑ‬ ‫ﻭﻤﻊ‬ ،
‫ﻋﺸﺭ‬ ‫ﺍﻟﺤﺎﺩﻱ‬
)
١٠٤٢
-
١٠٨٢
‫ﻡ‬
(
‫ﺒﻨﺎﺀ‬ ‫ﺃﻋﻴﺩ‬
‫ﺼﻠﻴﺏ‬ ‫ﺸﻜل‬ ‫ﻋﻠﻰ‬ ‫ﻤﺴﻘﻁﻬﺎ‬ ‫ﻓﺄﺼﺒﺢ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬
‫ﹰ‬
‫ﺎ‬‫ﺘﻘﺭﻴﺒ‬
.
‫ﻗﺒﺔ‬ ‫ﺍﻟﺼﻠﻴﺏ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﺭﻜﺯﻱ‬ ‫ﺍﻟﻘﺴﻡ‬ ‫ﻴﻐﻁﻲ‬
،‫ﻤﺭﻜﺒﺔ‬ ‫ﻗﺒﺎﺏ‬ ‫ﺍﻷﺫﺭﻉ‬ ‫ﺒﺎﻗﻲ‬ ‫ﻴﻐﻁﻲ‬ ‫ﻜﻤﺎ‬ ‫ﻤﺭﻜﺒﺔ‬
‫ﻭﺘﺤﺘﻭﻱ‬ ،‫ﻜﺭﻭﻴﺔ‬ ‫ﻤﺜﻠﺜﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺤﻤﻭﻟﺔ‬ ‫ﻭﺍﻟﻘﺒﺎﺏ‬
‫ﻫﺫﻩ‬ ‫ﻏﻁﻴﺕ‬ ‫ﻜﻤﺎ‬ ،‫ﺭﻗﺎﺒﻬﺎ‬ ‫ﻓﻲ‬ ‫ﻓﺘﺤﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﺒﺎﺏ‬
‫ﺃﻀﻴﻔﺕ‬ ‫ﺍﻟﺨﺎﺭﺝ‬ ‫ﻤﻥ‬ ‫ﻀﺨﻤﺔ‬ ‫ﺨﺸﺒﻴﺔ‬ ‫ﺒﻘﺒﺎﺏ‬ ‫ﺍﻟﻘﺒﺎﺏ‬
‫ﺍﻷﺼﻠﻴﺔ‬ ‫ﻟﻠﻘﺒﺎﺏ‬
.
‫ﺍﻷﻤﺎﻤﻲ‬ ‫ﺍﻟﺭﻭﺍﻕ‬ ‫ﺍﻤﺘﺩ‬ ‫ﻭﻗﺩ‬
‫ﻗﺒﺎﺏ‬ ‫ﻭﺘﻐﻁﻴﻪ‬ ‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﺠﺯﺀ‬ ‫ﺤﻭل‬ ‫ﻟﻠﻜﻨﻴﺴﺔ‬
‫ﺼﻐﻴﺭﺓ‬
.
‫ﻜﻤﺎ‬ ،‫ﺍﻟﺭﺨﺎﻡ‬ ‫ﺒﺄﻟﻭﺍﺡ‬ ‫ﺍﻟﺠﺩﺭﺍﻥ‬ ‫ﻜﺴﻴﺕ‬ ‫ﻭﻗﺩ‬
‫ﺍﺴﺘﺨﺩﻤﻭﺍ‬ ‫ﻜﻤﺎ‬ ،‫ﹰ‬
‫ﺎ‬‫ﺃﻴﻀ‬ ‫ﺒﺎﻟﺭﺨﺎﻡ‬ ‫ﺍﻷﺭﺽ‬ ‫ﻓﺭﺸﺕ‬
‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﺠﺩﺭﺍﻥ‬ ‫ﺯﺨﺭﻓﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺩﻴﻌﺔ‬ ‫ﺍﻷﻟﻭﺍﻥ‬
‫ﻭﺍﻟﺩﺍﺨﻠﻴﺔ‬ ‫ﺍﻟﺨﺎﺭﺠﻴﺔ‬
.
‫ﻤﻴﺩﺍﻥ‬ ‫ﻭﺍﺠﻬﺘﻬﺎ‬ ‫ﻭﺘﻭﺍﺠﻪ‬ ،‫ﻤﺩﺍﺨل‬ ‫ﺨﻤﺱ‬ ‫ﻭﻟﻠﻜﻨﻴﺴﺔ‬
"
‫ﻤﺎﺭﻙ‬ ‫ﺴﺎﻥ‬
"
‫ﻜﺄﻨﻪ‬ ‫ﻭﻴﺒﺩﻭ‬ ،‫ﺒﺎﻟﺭﺨﺎﻡ‬ ‫ﻤﺯﺨﺭﻑ‬ ‫ﻭﻫﻭ‬
‫ﺇﻟﻰ‬ ‫ﺍﻟﻭﺍﺠﻬﺔ‬ ‫ﻤﺒﺎﻨﻲ‬ ‫ﻭﺘﺭﺠﻊ‬ ،‫ﻟﻠﻜﻨﻴﺴﺔ‬ ‫ﻤﺩﺨل‬
‫ﺍﻟﻘﺭﻥ‬
١٢
‫ﻤﺩﺍﺨل‬ ‫ﺨﻤﺴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺤﺘﻭﻱ‬ ‫ﻭﻫﻲ‬ ،
‫ﺒﺄﻋﻤﺎل‬ ‫ﻭﻤﺯﺨﺭﻓﺔ‬ ،‫ﻜﺒﻴﺭﺓ‬
‫ﻤﻭﺯﺍﻴﻴﻙ‬
‫ﺫﻫﺒﻴﺔ‬
‫ﺍﻟﺭﻗﻴﻕ‬ ‫ﺍﻟﻨﺤﺕ‬ ‫ﺒﺠﺎﻨﺏ‬ ،‫ﺍﻟﺸﻔﺎﻑ‬ ‫ﻭﺍﻟﺭﺨﺎﻡ‬
.
‫ﻤﺎﺭﻙ‬ ‫ﺴﺎﻥ‬ ‫ﻜﻨﻴﺴﺔ‬

14. ١٧
‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﺍﻷﻓﻜﺎﺭ‬ ‫ﺃﻫﻡ‬
‫ﺍﻟﻌﺼﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻜﻨﺎﺌﺱ‬ ‫ﻭﺃﺭﻭﻉ‬ ‫ﺃﻜﺒﺭ‬ ‫ﺍﻟﻜﻨﻴﺴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﺘﻌﺩ‬
‫ﺍﻟﺒﻴﺯﻨﻁﻲ‬ ‫ﺍﻟﺜﺎﻨﻲ‬ ‫ﺍﻟﺫﻫﺒﻲ‬
.
‫ﺍﻟﻘﺒﺎﺏ‬ ‫ﻴﻤﻴﺯﻫﺎ‬ ‫ﻤﺎ‬ ‫ﺃﻫﻡ‬ ‫ﻭﻤﻥ‬
‫ﺍﻟﻤﺭﻜﺒﺔ‬
.